Friday, November 13, 2009

format change/vertical version

I decided I would do an experiment. Same field, same mysterious goal, new format. The only changes I made were necessary placement changes that were required to make the format work. What does the vertical say now?
Now off to the hospital...thank you again for all the well wishes and cards.
Tomorrow, same view in  a square.


NJ ART 73 said...

Hi Loriann,
I am enjoying this version very much. I like that the dark tree on the right side creates a tension between that shape and the trees in the background. You created a sense of depth by going from the light value in the foreground to the background area interupted by that dark tree. The way that you handled the overall painting shows a great deal of sensitivity. The background trees are especially inviting.This painting has a lot of atmosphere. I also like how the dark mark on the left of that dark tree also breaks up the space adding to the visual tension.

I think that it is a great idea & enjoyable to work the same landscape in different formats. I await the next variation

BTW- I do not why I have avoided 9/12. Some years ago as an honorable mention in a local art show I received several 9/12 canvas on those thick strips-which I have to use. I may end working on 9/12's because it half of 18/24. I could go from a 9/12 study to the 18/24 painting. I find it interesting how we as artists gravitate towards certain sized canvases or papers. For many years I enjoyed the 11/14 but lately I have not used that size canvas all that much. I felt that it was becoming too familiar. Yet I went back to the 14/18 canvas which is not a standard sized canvas and now like using 16/20 & 20/24 with 22/28 & 20/30 to be tempting alternates. Perhaps as artists we have an innate sense of what proportions feel "right" to us. This could explain why we some choose certain sizes and rarely if ever work on other size canvas or papers.

Double "D" said...

Hi B,

I've been thinking about this one since this morning. My first reaction was, "it's cut in two horizontally, that tree seems awfully close to the right side. Then I thought that I really like the values of this drawing and what a mysterious feeling this drawing brings to me.
Then I decided I would wait until tonight to comment.
Now looking at it again, I really like the subtleties of the strokes, some appear to be erasures recovering lighter values. Tonight, I wish it was hanging on my studio wall, it's just so mysterious like it's telling a story and it's up to you to solve the mystery. OK, you've convinced me, this vertical is very nice and each time I look at it I get a different feeling about the story.

Best to you both,
Your painting buddy.

brian eppley said...

Hi Loriann. The dark area in the very near foreground helps the centering issue. The mood in this is wonderful. Are you familiar with the semi abstractions of Nicolas de Stael? His work had great mood and simple(or maybe not so) yet efffective value ranges.
Good luck to Paul and his recovery!

loriann said...

Hi everyone,
I am sorry it has taken awhile to get back to you. I am sure you understand.

NJ, very astute and sensitive observations about this painting.
Also I think the "rightness" about paper/canvas size can be linked to our emotional state. There have been times when I try to work on commission and struggle because of size. A client will want a certain proportion and I am not in that space.At the same time I can get the desired results on a smaller scale. i have to wait until I feel "big." Go figure.

Hey PB.
So this is the vertical preference? It's interesting that initially it made you feel uncomfortable, then it turns out to be your favorite. Hmmmmm. interesting.

Hi Brian,
I will have to look more into Nicolas de Stael's work. I am glad that you feel the mood in this one.

Paul says thanks!